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Keepin' It Real Vs. Bling-Bling

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Keepin' It Real Vs. Bling-Bling Lund University SANK01: VT-2012 Sociological Institution Author: Carolina Larnett Department of Social Anthropology Supervisor: Steven Sampson Keepin’ It Real vs. Bling-Bling: Shopping for Identity among Swedish Hip-Hoppers Graffiti mural, depicting rap legend 2Pac, in New York City http://assets.nybooks.com/media/photo/2010/12/21/Chiasson_1_jpg_630x423_crop_q85.jpg Abstract This paper describes the discourse of authenticity and the creating of identity through popular culture, using hip-hop, as a case to study. Based on data from how Swedish youth take in hip-hop through music lyrics, rapper stereotypes, the gangster rap subgenre and rap battles, it shows that including oneself into this culture can lead to changes in one’s identity and the redefinition of one’s persona. It discusses how hip-hop influence leads to youth creating their own local oppositional culture, re-constructing perceptions of authenticity and acts as guidance in the quest for an independent identity during adolescence and early adulthood. The theoretical material considering authenticity will primarily be provided by Charles Lindholm and David Boyle. Keywords: social anthropology, authenticity, identity, popular culture, hip-hop, culture, youth, community 2 List of Hip-Hop slang and terms . Battle (Rap Battle) – A contest where you orally recite rap or hip-hop lyrics back and forth between at least two individuals. The crowd decides who the better emcee is after they have battled it out for a couple of rounds. Beef – Slang for fighting someone or being aggressive. Have a grudge or starting one with another person in the Hip-Hop industry. (Beef is not what these famous niggas do on the mic. Beef is what George Bush would do in a fight – Mos Def – What is Beef?) . Bling- Bling/Ching/Ice – A slang term for expensive jewellery; like diamonds and gold chains and other accoutrements that are eye-catching. Bling-Bling culture refers to the lifestyle in itself that surrounds excess spending and flaunting wealth ostentatiously as a rapper. Crew – Gang, posse or set. It could be a somewhat organized group of graffiti artists or a very close group of friends that you can count on. Deejay – Disc Jockey, the one who plays, mixes or spins records in hip-hop. Emcee – Master of Ceremony/Mike controller, term for the rapper in hip-hop. Game - A term for knowledge, skill and expertise. Having a knack for something like rapping or hitting on the members of the opposite sex ("He got game" – He has skills). It is also a reference to the street life and also Rap Game being a term for the rap industry (And the rap game paralyzes the street life, I'm not sellin’ drugs I'm, selling CD's globally – Gucci Mane feat. Master P – Brinks) . Gangsta - (Gangster) – A member of a street gang or a reference to a certain attitude/style that is applied on actions, objects and ideas. Hood – Neighbourhood or the place you came from before you hit it big time. O.G – Meaning Original Gangster, from the beginning referred to the founder of a gang but is now considered a term for any older gang member or originator of something in Hip-Hop. Playa (Player) – Being a ladies man, someone who cheats on his girlfriend/wife or simply being really good at something (He’s a big playa in the game, referring to the hip-hop industry). Scratchin’ – A deejay creating music by manually moving a record under a stylus. Written by the author with help from http://www.rapdict.org/Main_Page 3 Table of Contents Abstract ......................................................................................................... 1 1. Introduction & Aim ………………………..……................................... 5-6 2. Method & Questions …. ……………………………………….……..... 7 3. Disposition ………………........................................................................ 8 4. Authenticity in popular culture ……………...…..…………..………… 9 4. Keepin’ it real ……..…………………………………………………………...…..… 9-12 5. What is authentic hip-hop? ………………………….……..….………… 13 5.1 Authenticity in hip-hop ……………………………………………………….....… 13-16 5.2 Different variations of rappers …………………………………………………… 17 5.2.1. Short descriptions of rappers …………………………..……………………… 18-19 5.2.2. Gangster rappers ….………………………....………………………..…...…… 20-22 6. Swedish hip-hop ………………………………………………..……….. 23 6.1 White boys ……..…..…………………………………..………………………...… 23-24 6.2 “Förortsrap” ………………………………………………………………...…...…. 25-26 6.2.1. Rap battles in Sweden ………………………………………………………...… 27-29 6.2.2. Women in hip-hop …..…………………………………………………………... 30-32 7. C.R.E.A.M1: Cash Rules Everything Around Me ………………......… 33 7.1 The Bling-Bling culture ......…………………………….…………….….……..…. 33-34 7.2 Look the part ………………………………………………………………...…….. 35-36 8. Summary ………………......................................................................... 37 9. Conclusion: Searchin’ for something ………….…………………… 38-39 10. References.............................................................................................40-42 1 C.R.E.A.M: A famous rap song from Wu-Tang Clan and a slang term for money. 4 1. Introduction & Aim What is authenticity? And would we recognize it hidden behind layers of contrived personas and ideas? In a world where the process of globalization is a fact we see how many aspects of the real and the fake are being challenged everyday through the paradoxical search for the old - while still craving and wanting the new. There are arguably no areas for discussion where authenticity and identity are not brought up at some point because it has influence on who we are and who we want to be; what we are doing and what we want to do. People are being challenged by corporations, media and other sources to re-evaluate themselves each time they see a marketing ad in the news paper, a commercial on TV and a billboard sign on the highway or magazines like Cosmopolitan that constantly shows you who is considered beautiful enough to end up on a cover. Through the use of popular culture I want to provide a look on how it can challenge, re-shape and market different aspects of what is considered authentic and by doing so also pushing for a change in how people view themselves and re- think who they want or should be as individuals to fit into a certain type of pattern. Hip-hop is one of many social phenomena in our society that can be linked to the creating and marketing of authenticity and identity among its supporters and practitioners; as well as those who are firmly against everything that rappers and hip-hop culture provide to people. The norms of authenticity are embodied in rap artists, who in their style and their engagement with the concepts within the music they create on a regular basis reaffirm what is and what is not authentic. However, critics claim that what hip-hop really provides is a forum for rappers to use very misogynistic lyrics, sexist music videos and lets them encourage social defiance against any authority that is in opposition to whatever they consider good. One aspect of how rappers influence their audience was shown to me by Swave Sevah, who had broken his arm a day prior to the concert, yelling out to the audience about wanting a marijuana joint to smoke on and the audience that mostly consisted of white males between ages 18-25 who looked as if they never had smoked a regular cigarette one day in their life started cheering and yelling out that they had a joint for him. Perhaps the legalization of smoking marijuana is not the greatest influence that rappers have on their fans, but promoting marijuana smoking through their lyrics and their own everyday life actions sends a clear message to their audience that by doing so themselves they reach a new level of connection to their rap idols. 5 1. Introduction & Aim Just understanding the impact of globalization on hip-hop was thrown right at me while standing in a crowd at Mejeriet during a concert by Cunninlynguists. Rapper Kno (a.k.a. Ryan Wisler) from the group starts telling the crowd how much he appreciated Sweden after we made it possible for Cunninlynguists to record an album and how he liked the burgers at Viggos, a local restaurant in Lund just by the train station. By studying anthropology, I also realized how much academical institutions like ours can benefit from studying this popular culture with a perspective on authenticity and identity; like for example aiming to show how globalization has affected changes in how people joining the hip-hop community want to portray themselves and act in their everyday life, how the background of hip-hop is linked to young black men’s identity in general but in particular in their view on higher education or how young women are influenced by the portrayal of females in hip-hop music videos. Hip-Hop culture has been proven to be more than a fad and has instead become an institution that affects people at local and global levels on everyday basis. The music in itself is a part of my everyday life and has been for a long time, however these past years I have realized that the critical side of me towards the hip-hop industry and the social problems that have been arguably enhanced through some rappers within the culture has been replaced by the catchy lyrics and the amazing beats in the songs. Hip-hop, according to most practitioners and supporters, consists of four elements; graffiti, breakdancing, deejaying & MC-ing (emceeing). Out of the four elements of hip-hop, this paper will mostly focus on the MC-ing, because rappers have become the main focus of the hip-hop scene these past decades from in the past being dominated by deejays like DJ Kool Herc. Furthermore, I will try to present how rappers give meaning to self-identification for youth and how authenticity is generally evaluated by the participants within the hip-hop community. I will argue that hip-hop can be understood as a growing social phenomenon that transcends the local origin of the Bronx and is used for creating a collective by young adolescents in their everyday lives all over the world.
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